📸 Kickstart Your

Photography in 10 Weeks
Your Quick-Start Guide to Master Photography

PAOLO SARTORI
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© Paolo Sartori 2025

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted in any form or by any means
without the prior written permission of the publisher, except for brief
quotations used in reviews or scholarly works.
The views expressed in this book are solely those of the author and do
not necessarily re ect the views of any organization or entity.
Published by Paolo Sartori

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 🔍 Introduction: Why Most Photos Don’t Work

If you’ve ever come home with a card full of “meh”

photos — don’t worry. You’re not alone.
It happens when we go out just to see what happens.
Sometimes it works. But often it doesn’t — and we
can’t explain why.
The reason is simple: random outings lead to random
results.
To improve, we need a system. Not more gear. Not
more YouTube videos.
This 10-week plan gives you a clear, practical structure
to follow — no matter what you shoot.

🧠 How It Works

You’ll follow a simple rhythm:

• 2 sessions per week: one shorter (1 hour), one

longer (2–4 hours)
• Each 2-week block focuses on a single
photographic skillEvery session has a goal and a
checklist
• By focusing on one element at a time — exposure,
focus, light, etc — you’ll stop feeling overwhelmed,
and start seeing improvement.
 ✅ Week-by-Week Breakdown

📷 WEEK 1–2: Exposure Fundamentals

Goal: Learn how to expose with con dence in any situation.

🟡 SESSION 1 — Master the Meter (1h)

Most modern cameras use a built-in light meter to

measure brightness and suggest an exposure. You’ll usually
see this as a small scale with a “0” in the middle — when
your exposure is “correct.”
But here’s the trick: your meter doesn’t know what you’re
shooting. It’s trying to make everything a middle grey. So
when you point your camera at something bright (like snow
or sand), it might underexpose. And when you point it at
something dark (like a black coat or a shadow), it might
overexpose.
In this session, your goal is to stop guessing and start
reading. Pick a few di erent scenes with varying light.
Switch to Manual mode, and try adjusting your shutter
speed, aperture, and ISO to balance the meter. Then take a
photo and review it.
Ask yourself:
• Does this exposure feel right?
• Do I want more or less light?
• What happens when I intentionally under- or over-
expose by 1 stop?
Take notes. Try again. This is the rst step in building
con dence behind the camera — learning to read light and
take control of your exposure.
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Tasks:
• Set your camera to Manual mode
• Point it at di erent lighting situations (bright
sun, shadow, backlight)
• Observe how your camera’s meter reacts
• Adjust aperture, shutter and ISO to center the
meter. Observe how each setting is a ecting the
exposure AND the look of your image.

Checklist:
• Understand how your light meter works
• Practice metering in di erent scenes
• Adjust settings manually without fear

⚪ SESSION 2 — Exposure Bracketing (2–4h)

This session introduces the concept of bracketing —

capturing the same scene at multiple exposures to
understand how each one a ects the nal image.
Start by choosing a subject with a good range of tones
(like a tree against a bright sky, or a shaded alley with some
sunlight). Set your camera to Manual or Aperture Priority
mode. Take one photo with your meter reading at “0,” then
one at -1 stop, and another at +1 stop. You can use the
exposure compensation dial or adjust shutter speed
manually.
Now import those images into your computer and
compare them using your editing software. Zoom in and
look carefully at the highlights and shadows:
• In the overexposed version, are any highlights
completely white?
• In the underexposed version, are the shadows too
dark to recover?
• Which version gives you the most exibility in post-
processing?
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 Turn on the histogram — a graph that shows the
brightness values in your photo. Start learning to read it: if
everything is bunched to the left, the image is dark. If
everything is pushed to the right, it’s bright. Aim to avoid
clipping (spikes at the far ends).
This session builds the habit of thinking about exposure
intentionally — and helps you understand your camera’s
limits.

Tasks:
• Find a simple landscape or subject
• Shoot it at -1, 0, +1 stop exposure
• Compare results on computer using
histogram
• Look at shadow and highlight recovery in
editing, see how much you can push your les in post

Checklist:
• Practice exposure bracketing
• Use histograms to evaluate exposure
• Understand what details you can recover

🟡 SESSION 3 — Aperture vs ISO Priority (1h)

In this session, you’ll discover how aperture, shutter

speed, and ISO interact — and learn how to prioritize what
matters most for di erent types of shots.
Set your camera to Aperture Priority mode (often labeled
“Av” or “A”). This means you control the aperture, and the
camera picks the shutter speed automatically. Start with a
subject that won’t move — like a co ee mug on a table —
and shoot at f/2.8, f/5.6, and f/11. You’ll notice changes in
two areas:
1. Depth of Field: At f/2.8, only a small part is sharp; at
f/11, much more is in focus.
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 2. Shutter Speed & ISO: To keep the exposure
balanced, your camera will adjust these automatically.
You might get slower shutter speeds or higher ISO.
Now try switching to Manual Mode with Auto ISO. You
control both aperture and shutter, and the camera oats ISO
to keep exposure right. It’s a fast way to work, especially in
changing light.
Take note of how high the ISO goes. Zoom in on your les
and observe when noise becomes visible. Every camera has
a “safe ISO range” — learn yours.
This session is about understanding trade-o s — when to
prioritize depth of eld, when to freeze motion, and when to
let ISO do the heavy lifting.

Tasks:
• Try Aperture Priority and Manual with Auto
ISO
Learn how to adjust exposure with exposure
compensation dial
• Shoot the same scene at f/2.8, f/5.6, f/11
• Observe how ISO and shutter adjust
• Review noise and sharpness trade-o s

Checklist:
• Learn how aperture a ects exposure
• Get comfortable letting ISO oat
• Evaluate when Auto ISO helps or hurts
Find the max ISO you can safely shoot with
your camera
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⚪ SESSION 4 — Full Manual Con dence (2–4h)

Time to put everything together. In this session, your goal

is to shoot for several hours using only Manual Mode — no
Auto ISO, no exposure compensation, no camera help. Just
you and your settings.
Start in a location that o ers di erent lighting conditions
— a trail with shade and sun, a market with bright stalls and
dark corners, or a quiet street where clouds come and go.
Each time the light changes, adjust your settings. At rst, it’ll
feel slow. That’s normal.
Begin with your base ISO (100 or 200), choose your
desired aperture (e.g. f/5.6 for general use), and adjust
shutter speed to balance the meter. Then experiment:
• Try underexposing by a full stop. What does that
look like?
• Now expose for the highlights — keeping the
bright parts from blowing out
• Then expose for the shadows — making sure
nothing is lost in the dark
Take photos. Review them. Repeat.
By the end of this session, you should feel more con dent
adjusting exposure without fear. The goal isn’t perfection —
it’s control. You’re learning to respond to light like a
photographer, not a passenger.

Tasks:
• Choose a location and shoot entirely in
Manual mode
• Work through changing light
• Adjust all 3 settings (A/S/ISO) actively
• Expose both for highlights and for shadows
— see what works best

Checklist:
• Build speed in full manual
• Trust yourself, not just the camera
• Begin developing exposure intuition
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 🔧 WEEK 3–4: Shutter & Focus Mastery

Goal: Learn to freeze or blur motion, and track focus

like a pro.

🟡 SESSION 5 — Freeze the Moment (1h)

Capturing motion is one of the most exciting aspects of

photography — and learning how to freeze it takes both
technique and timing.
For this session, nd subjects that move in a predictable
way. It could be cyclists on a path, kids playing soccer, or
cars passing by. Start by setting your camera to Shutter
Priority (Tv or S mode) or Manual Mode and dial in a fast
shutter speed — around 1/1000s is a good starting point.
Your goal is to nd the slowest shutter speed that still
freezes the motion without blur. Try gradually stepping
down: 1/1000s, 1/800s, 1/500s, and so on. Review your
shots carefully to see where blur starts to appear. This will
help you understand your personal threshold — which will
vary depending on the subject and your lens.
Also pay attention to timing. Don’t just hold the shutter
down — observe the subject and press the shutter when
something visually interesting happens: a jump, a leap, a
turn, or a moment of eye contact.
Learning to freeze motion is about when you shoot as
much as how. Practice your re exes, and you’ll begin
capturing the kinds of action shots that feel alive.

Tasks:
• Photograph moving subjects (cars, bikes,
dogs, people)
• Find the slowest shutter speed that allows
you to freeze them
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 • Practice timing to take the photo at peak
action or when the subject is in the best positions

Checklist:
• Know when you need fast shutter speeds
• Train re exes to time peak moments
• Get sharp results in action scenes

⚪ SESSION 6 — Motion Blur Practice (2–4h)

While freezing motion is useful, sometimes showing

movement is far more powerful. Motion blur can add energy,
emotion, and a sense of place — especially when used
intentionally.
In this session, experiment with shutter speeds between
1/10s and 1/60s. Begin by shooting stationary scenes with
moving elements — like tra c at dusk, people walking in a
plaza, or wind moving grass or leaves. You can mount your
camera on a tripod to keep the environment sharp while the
moving elements blur.
Next, practice panning: follow a moving subject with your
camera while shooting at a slower shutter speed. Ideally,
you want the subject sharp while the background blurs in
streaks — a look that communicates motion beautifully. Try
this with bikes, runners, or even dogs. Start around 1/30s
and adjust up or down depending on the speed of your
subject.
Don’t expect perfect results at rst. Panning has a
learning curve, and a lot of your shots may be unusable —
but that’s part of the process. The more you practice, the
more you’ll learn to combine movement, background, and
light into images that feel dynamic and expressive.
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Tasks:
• Use slow shutter (1/10s to 1/60s)
• Try panning with a moving subject
Place your camera on a tripod to get a still
landscape with a blurred subject
• Review and compare successful and failed
attempts

Checklist:
• Understand when motion blur adds to the
story
• Practice panning technique
• Control movement creatively

🟡 SESSION 7 — AF Modes and Settings (1h)

Autofocus (AF) technology is incredibly powerful — but

only if you understand how to use it properly. In this session,
you’ll get hands-on with your camera’s autofocus modes
and settings so you can choose the right tool for the job.
First, learn the di erence between the two main AF
modes:
• One Shot / AF-S: Ideal for stationary subjects. The
camera locks focus when you half-press the shutter.
• AI Servo / AF-C: For moving subjects. The camera
continuously adjusts focus while you track.
Next, explore AF areas. Most cameras allow you to
choose from several focus patterns:
• Single-point AF: Focus on one speci c area —
precise but requires careful aiming.
• Zone AF: A wider area — good for subjects that
move but stay in the same part of the frame.
• Tracking AF: The camera follows your subject
once you lock on.
Practice with slow-moving subjects: a friend walking, your
pet in the yard, or birds at a feeder. Test each mode and
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setting, and pay attention to what works best. Does your
camera respond quickly enough? Are you able to keep the
subject in the frame?
This session is about experimentation. Learn what your
camera can (and can’t) do. You’ll thank yourself later when
things start moving fast.

Tasks:
• Test AF-C / Servo vs. One Shot
• Use di erent AF areas: spot, zone, tracking
• Try tracking your pet, a person walking or
birds in a local park

Checklist:
• Know which AF mode ts the scene
• Practice tracking slow and fast subjects
• Tune your custom AF settings

⚪ SESSION 8 — Field Autofocus Challenge (2–4h)

Now that you understand autofocus modes, it’s time to

test them in a real-world, dynamic setting. Pick a moving
subject — ideally something that moves unpredictably.
Birds in a park are a great choice, but you could also
photograph skateboarders, joggers, or kids playing.
Set your camera to Continuous AF (AI Servo or AF-C) and
choose a wide area or tracking mode. Your mission is to
stay locked on your subject for several seconds while
maintaining composition. This is much harder than it
sounds.
Start with slow or medium-speed motion. Try to anticipate
where your subject is going, rather than reacting after it
moves. Keep your elbows tucked in for stability, and shoot
in short bursts rather than holding the shutter down non-
stop.
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 After each sequence, review your photos. Check for
sharpness: is the eye or face in focus? Or did the camera
lock onto the background instead? This feedback loop is
crucial.
The goal here isn’t to take award-winning images — it’s to
develop focus discipline. With time and repetition, you’ll
learn to trust your instincts, keep your cool, and nail focus
even when the action gets intense.

Tasks:
• Spend time following one moving subject
(might be birds in a local park)
• Anticipate where it will go
• Keep focus locked for a clean burst

Checklist:
• Stay calm under pressure
• Use AF con dently in the eld
• Nail focus even in challenging situations
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 🎨 WEEK 5–6: Composition Bootcamp

Goal: Train your eye to compose with purpose and

variety.

🟡 SESSION 9 — Constraint Creativity (1h)

Creativity often ourishes when you give yourself

boundaries. In this session, we’ll turn limitation into
inspiration. Choose a xed lens (like a 35mm or 85mm) — or
if you only have a zoom lens, tape it at one focal length for
the session.
Now pick one subject. It could be a tree, a bike, a person,
a pet — anything. Your goal is to create 5 visually distinct
images of this same subject. That means moving around it,
changing height and angle, shifting background and light, or
using aperture and shutter creatively.
Some prompts to try:
• Shoot from above, below, and ground level
• Use negative space in one image and tight framing
in another
• Try backlight, side light, or shadow play
• Include context in one frame and isolate the
subject in the next
This exercise forces you to think beyond your rst instinct.
You’ll train your brain to explore every angle — literally. With
time, you’ll nd yourself naturally making more deliberate,
interesting compositions even in fast-paced situations.

Tasks:
• Lock yourself to 1 lens or focal length
• Pick 1 subject and shoot it in 5 radically
di erent ways (remember you can use aperture and
shutter speed to create di erent images)
• Think about angle, framing, depth, spacing
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Checklist:
• Learn to see creative options
• Move your feet, not your zoom
• Build variety from limitation

⚪ SESSION 10 — Shape & Structure (2–4h)

Composition isn’t just about your subject — it’s about

how you arrange all the elements in the frame. In this
session, you’ll learn to pay attention to the structure of your
image, even before anything happens.
Start by nding locations that o er visual elements like
leading lines, repeating patterns, or natural framing.
Bridges, staircases, roads, and fences are great places to
begin.
Avoid relying solely on a person or animal to “make the
photo.” Instead, treat the entire frame as your subject.
Where does the viewer’s eye go? What creates balance?
What creates tension?
Try the following:
• Use foreground elements to add depth
• Look for symmetry or intentional asymmetry
• Use negative space to isolate key forms
• Wait until light interacts with the scene in an
interesting way
You’re learning to build photos that are compelling before
the subject even arrives — photos that make people pause
not because of what’s in them, but because of how
everything is arranged. That’s a powerful skill.

Tasks:
• Focus on lines, shapes, and geometry
• Use foregrounds, layers, and negative space
• Avoid single subjects — make the frame itself
interesting
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Checklist:
• Use structure to organize your image
• Improve visual clarity
• Compose before the moment happens

🟡 SESSION 11 — Light as Composition (1h)

Light doesn’t just expose your image — it shapes it. In

this session, we’ll treat light itself as a compositional tool.
You’ll train your eye to notice how light direction, strength,
and quality a ect the mood and readability of an image.
Start by shooting during the golden hour (early morning or
late afternoon) when light is soft and directional. Walk
around a subject and observe how side light reveals texture,
how backlight outlines a shape, and how front light attens
it.
Use shadow intentionally:
• Frame your subject so that shadows add graphic
interest
• Let part of the frame fall into darkness to create
contrast
• Shoot silhouettes if the backlight is strong
Don’t wait for the light to be “perfect” — work with what
you have. Even harsh midday sun can produce powerful
images if you embrace the contrast and shoot accordingly.
This session builds the mindset that light is not something
to fear or x — it’s something to use. And once you start
seeing it that way, your photography will take a huge leap
forward.

Tasks:
• Look for directional light: side, back, top
• Use light to separate subject from
background
• Compose with shadows and contrast
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Checklist:
• Read the light before composing
• Use highlights and shadows intentionally
• Combine light + lines for stronger photos

⚪ SESSION 12 — Storytelling with Composition (2–

4h)

Photographs can do more than show what something

looks like — they can tell stories. In this session, you’ll learn
to think like a visual storyteller, using a series of images to
say something more than any single photo could.
Start by picking a theme or subject: a local market, a
street musician, a café, your own morning routine. Then
challenge yourself to tell that story in just ve images.
Structure your set like this:
1. Wide shot: Show the setting
2. Medium shot: Introduce the subject
3. Detail shot: Zoom in on something symbolic
4. Action shot: Capture something happening
5. Close-up/emotion: End with a moment or feeling
As you shoot, think about transitions. How do you move
visually from one idea to the next? What details help
connect each frame? Can you create rhythm and variation in
your compositions?
This session builds your narrative instincts. It’s not just
about seeing — it’s about saying something. And it’s one of
the most valuable skills you can develop as a photographer.

Tasks:
• Pick a theme and develop it in 5 photos
• Wide → medium → detail → action → close
• Focus on transitions between shots

Checklist:
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 • Build a story, not just standalone images
• Think like a photo essayist
• Compose based on narrative ow

💡 WEEK 7–8: Light Study

Goal: Learn to work with — not against — natural light.

🟡 SESSION 13 — Harsh Light Training (1h)

Most photographers are taught to avoid shooting at

midday because of the harsh, overhead light — but this
session ips that idea on its head. Midday light can be a
powerful creative tool if you understand how to work with it.
Find a location with strong directional sunlight — city
streets with tall buildings, a forest clearing, or anywhere with
hard shadows. Walk around and observe how light carves
shapes and contrast into the scene. Look for interesting
patterns created by shadows, dappled light through trees,
or extreme highlights bouncing o surfaces.
Set your camera to expose for the brightest part of the
image and let the shadows go dark. This technique creates
drama and mood, especially in black-and-white images. You
might lose some detail, but that’s part of the look.
Play with silhouettes. Stand behind your subject and let
the light hit them from behind. Try turning o Auto White
Balance to maintain consistency and better control the color
temperature.
This session is about con dence. Don’t run from harsh
light — master it. It’ll make you a more versatile
photographer in any situation.
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Tasks:
• Go shoot in the middle of the day
• Work with hard light and deep shadows
• Use contrast to create bold images

Checklist:
• Stop fearing harsh light
• Control exposure in di cult scenes
• Use hard light as a creative tool

⚪ SESSION 14 — Light Changes Through Time (2–

4h)

Light is always changing — and understanding those

changes is key to mastering outdoor photography. In this
session, you’ll return to the same location at three di erent
times of day: early morning, midday, and late afternoon.
Bring a notebook and take notes at each session. Pay
attention to the direction of the light, the length and softness
of shadows, and the color of the overall scene. Morning
light is usually cool and gentle; midday is hard and neutral;
evening light is warm and often dramatic.
Photograph the same subject or scene at each visit. Use
the same focal length and similar composition to make the
comparisons easier. Try both wide and tight shots, and
observe how the background and light interact di erently
throughout the day.
You’ll begin to develop an internal clock for light. You’ll
start to predict when a location will look its best — and
you’ll stop blaming bad results on “bad conditions.”
This session builds intuition. Great photographers don’t
just react to light — they plan around it.
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 Tasks:
• Visit the same spot at morning, noon, and
evening
• Shoot similar compositions and compare
• Watch how color, mood, and texture change

Checklist:
• Understand the daily rhythm of light
• Match light to your subject/story
• Improve your timing instinct

🟡 SESSION 15 — Shadow & Silhouette (1h)

Silhouettes and shadows are two of the most striking

visual tools in photography — and they’re both rooted in
how you expose your image.
To create a silhouette, place your subject between your
camera and a strong light source (like the sun or a bright
window). Set your exposure based on the bright
background, not the subject. This will render the subject
dark — often entirely black — while the sky or light source
retains color and detail.
Silhouettes work best when your subject has a clear,
recognizable shape: a person in pro le, a tree with de ned
branches, a bird in ight. Avoid cluttered backgrounds or
overlapping shapes that confuse the eye.
Next, look for shadows that tell their own story. Shoot
re ections of people walking, long shadows cast on
textured ground, or abstract patterns from fences or
windows.
This session pushes you to see beyond the literal. It’s
about creating impact through form and contrast — and it’s
a great way to tell stories when facial expressions or details
are out of reach.
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Tasks:
• Backlight your subject
• Expose for the highlights to create silhouettes
• Focus on shape and separation

Checklist:
• Use silhouette as a storytelling device
• Compose with strong outlines
• Explore minimalist ideas

⚪ SESSION 16 — Editing Light (2–4h)

Photographing light is one thing — editing it is another.

This session is about learning how your style, taste, and
choices in post-production a ect the nal image.
Start by shooting a scene with challenging light: deep
shadows and bright highlights. A sunlit alley, a subject near
a window, or a high-contrast landscape all work well.
Import the photo into your editing software (Lightroom,
Capture One, etc.). First, make a natural edit — one that
stays close to what your eyes saw. Balance exposure,
recover highlights if needed, lift shadows slightly, and keep
colors realistic.
Then duplicate the image and create a second version
with more creative freedom. Try a high-contrast black-and-
white edit. Push saturation for a moodier color palette. Add
vignetting or shift the white balance for drama.

Now compare the two:

• Which version feels more like you?
• Which tells the story better?
• Which works best for the scene?
This session encourages self-discovery. Editing is not just
technical — it’s expressive. And the more you practice it
intentionally, the more your visual voice will emerge.
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Tasks:
• Shoot a photo with a wide dynamic range
• Edit two versions: natural vs. dramatic
• Compare what style ts your voice

Checklist:
• Recognize light you can work with
• Learn your editing limits
• Develop a style that ts the light

🐾 WEEK 9–10: Behavior & Anticipation

Goal: Capture moments — not just subjects.

🟡 SESSION 17 — Pre-Focus Technique (1h)

Many photographers chase their subjects — but some of

the best photos come from waiting. This session teaches
you to anticipate rather than react, using pre-focus and
composition as tools for storytelling.
Find a location with regular activity — a walking trail, a
bus stop, a window with good light. Compose your frame
before anything happens. Ask yourself:
• What’s interesting here?
• Where would a person or animal look best in this
composition?
Once you’ve composed the shot, lock focus (half-press
shutter or use back-button focus) on the zone where you
expect the subject to enter. Then… wait. It could take
seconds or minutes.
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 When someone (or something) enters the frame, press the
shutter as they reach the ideal spot. This approach
encourages thoughtful framing and better use of
background, light, and timing.
The skill you’re developing is patience. You’re learning to
trust your frame and wait for the right moment — a huge
step toward intentional photography.

Tasks:
• Compose your shot before the subject enters
• Lock focus and wait
• Time the capture as your subject hits the
perfect spot

Checklist:
• Improve patience and timing
• Let the action come to you
• Trust your setup

⚪ SESSION 18 — Behavior Observation (2–4h)

Great photography — especially in wildlife and street —

often depends on reading behavior. Instead of reacting to
the moment, this session is about observing patterns and
predicting them before they happen.
Find a subject you can quietly follow or observe for an
extended period. That might be:
• A bird at a feeder
• People crossing a street
• A dog in a park
• Even your cat at home
Start by watching. Don’t even raise the camera at rst.
What’s the rhythm of their behavior? Do they return to the
same spot? Do they look a certain way before they move?
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 Once you notice a pattern, frame your shot and prepare.
The goal is to anticipate the gesture, glance, or movement
— not chase it.
You’re training your awareness here. It’s not just about
your camera settings — it’s about reading the world around
you. The better you can predict, the more powerful and
natural your images will become.

Tasks:
• Follow the same subject for an hour
• Observe patterns and signs
• Try predicting what happens next

Checklist:
• Learn visual cues of behavior
• Practice long-term observation
• React less, anticipate more

🟡 SESSION 19 — Moment-Driven Shooting (1h)

In this session, we’re putting everything aside except one

thing: the moment.
Go to a place with people, energy, or movement — a
market, a café, a city square. Pick a general area and stay
still. Let the environment settle around you.
Then look for moments:
• A kid laughing
• Two friends in conversation
• A gesture that says something more than words
Don’t worry too much about perfect light or composition.
Focus on the human (or animal) connection. Anticipate the
moment, then press the shutter at the exact second it
peaks.
This is the di erence between a snapshot and a
photograph that feels something. It might be messy, it might
be slightly o — but if the moment is strong, it will connect.
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 You’re practicing the core skill of visual storytelling: the
ability to notice and preserve real emotion.

Tasks:
• In a busy place, wait for small gestures:
• eye contact
• interaction
• emotion
• Focus less on composition, more on moment

Checklist:
• Prioritize timing over perfection
• Shoot with intention
• Practice moment awareness

⚪ SESSION 20 — Story-in-a-Frame (2–4h)

This nal session is about putting everything together —

light, composition, exposure, behavior, timing — into a
single, powerful frame.
Find a subject or location that speaks to you. It could be a
street performer, an old doorway with interesting passersby,
or a wildlife setting. Choose your background carefully.
Compose the shot. Dial in your exposure. Lock in your focus
settings.
Then wait.
Your goal is to capture one photo that tells a full story:
• Who is this subject?
• Where are they?
• What’s happening?
Wait for light, expression, and gesture to come together
— and take that one shot.
It’s not about rapid- re bursts. It’s about seeing before
you shoot. You’re practicing restraint, timing, and
intentionality — the hallmarks of a thoughtful photographer.
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 When you get that frame, you’ll know. And when you
don’t, you’ll still learn something.

Tasks:
• Choose a subject and background
• Wait until everything aligns — expression,
action, light
• Shoot just one frame that captures the entire
scene

Checklist:
• Tell a story in one image
• Use all your learned skills at once
• Be patient and decisive
 🔁 What’s Next?

You made it through 10 weeks — but this is only the

beginning.

Photography is a lifelong craft. And just like music,

writing, or cooking, it rewards consistency, intention, and
re ection.

Now that you’ve completed this plan, you’ve built a

foundation that many people never do. You’ve trained
yourself to think about photography not just as chance or
instinct, but as a skill made up of building blocks —
exposure, timing, light, composition, patience, anticipation.
These aren’t tricks — they’re tools. And now, they’re
yours.

The best way to grow from here is to repeat the plan —

but raise the bar:

• Use more di cult light conditions

• Choose faster or more elusive subjects
• Impose creative constraints (1 lens, 20 shots only, no
reviewing images until you’re home)
• Start building longer-term personal projects • Find your
editing voice

Growth doesn’t come from gear — it comes from

practice, review, and pushing your boundaries just enough.

But there’s another way to level up, and it’s one I believe
in deeply: immersive workshops.
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 🚀 Ready to Go Deeper?

If you’re serious about improving your photography —

especially in the eld — nothing compares to joining a
workshop.

This is where it all comes together:

✅ You re ne your skills in real time. You get to practice

everything you’ve learned in this guide — but with personal
feedback, real-world subjects, and tailored guidance from
someone who’s been where you are.

✅ You build a strong portfolio. Many of my workshop

participants walk away with their best images to date —
because we go to the right places at the right time, and help
you make the most of every opportunity. Whether you’re
looking to shoot wildlife, landscapes, or environmental
stories, you’ll have real chances to create powerful,
meaningful photos that you’re proud to share.

✅ You gain con dence and clarity. When you’re

surrounded by others on the same journey, learning
alongside each other, something shifts. You stop guessing
and start knowing. You begin to trust your eye. You leave
with not just better photos — but a better understanding of
who you are as a photographer.

✅ You live an experience you’ll never forget. These

aren’t just technical intensives — they’re transformative.
Imagine waking up in Namibia and photographing elephants
at sunrise… or sitting silently in a Slovenian forest hide,
heart racing, as a wild bear steps into the light. These are
the kinds of moments that change the way you see — both
through your lens and beyond it.
If that excites you, then you’re ready.
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 📆 Upcoming Workshops
Here’s a preview of my main 2026 workshops. Each trip is limited to a small group to
ensure personal attention, space for creativity, and maximum learning.

📍 Kalahari Adventure (Namibia & South Africa)

Dates: May 4-13, 2026

An o -the-grid self-drive expedition through one of Africa’s wildest

places. Rooftop tents, long game drives, camp res — and a rare chance
to experience the raw side of safari life. We combine technical learning
with storytelling and preparation for independent travel.

📍 Iconic Namibia
Dates: May 15-27, 2026

An unforgettable journey through Namibia’s most photogenic locations

— including the red dunes of Sossusvlei, ghost towns of Kolmanskop,
arid landscapes of Damaraland and Etosha’s incredible wildlife. Perfect
for photographers looking for variety and a once-in-a-lifetime
experience.

📍 Slovenian bears workshop

Dates: July 2-5, 2026

A short but intense introduction to wildlife photography. Includes bear

hide sessions, morning bird shoots and in-depth theory lessons. A great
entry point for new wildlife shooters.

📍 Predators of South Luangwa (Zambia)

Dates: September 18-27, 2026

A thrilling 10-day experience during peak dry season in one of Africa’s

predator hotspots. Lions, leopards, wild dogs — all photographed with
expert tracking and eld support. Ideal for those wanting to improve
action photography and anticipation.

📍 Wild Namibia
Dates: October 4-11, 2026

A 10-day safari journey through Namibia’s most proli c wildlife

viewing areas. We’ll explore the wilderness of Damaraland in search of
desert-adapted elephants, rhinos and lions, before taking a deep dive
into the unique Etosha NP ecosystems, with access to private
waterholes and photography hides.
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About the author
Paolo is an Italian lm director and photographer with a passion for
wildlife and landscapes. Born in the Italian Alps he grew up skiing,
climbing and exploring his home mountains, which instilled a lifelong
love for the outdoors. He rst picked up a camera to document and
share the adventures he and his friends experienced, capturing the
thrill of exploration and the beauty of nature.

After years of expeditions across the globe, working with top outdoor
athletes and leading brands and climbing in the biggest and most
remote mountain ranges on Earth, Paolo discovered a whole new world
when, on his rst trip to Africa, he was introduced to wildlife
photography.

Today, Paolo travels extensively, especially across Africa, drawing

inspiration from its rich biodiversity and stories of conservation.
He shares his knowledge on his YouTube channel and through
photography workshops in some of the world’s most breathtaking
destinations, helping others re ne their craft and connect more deeply
with nature.
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